Professional Documents
Culture Documents
Creation of Characters God
Creation of Characters God
GOD OF SMALL THINGS
Emily Stockdale
A Thesis Submitted to the
University of North Carolina Wilmington in Partial Fulfillment
of the Requirements for the Degree of
Master of the Arts
Department of English
University of North Carolina Wilmington
2008
Approved by Advisory Committee
Dr. Christopher Gould Dr. Elle Byington
Dr. Joyce Hollingsworth
Chair
Accepted By
Robert D. Roer
Digitally signed by Robert D. Roer
DN: cn=Robert D. Roer, o=UNCW, ou=Dean of the Graduate
School & Research, email=roer@uncw.edu, c=US
Date: 2008.05.19 14:26:43 -04'00'
______________________________
Dean, Graduate School
TABLE OF CONTENTS
ABSTRACT ..................................................................................................................iii
ACKNOWLEDGEMENTS............................................................................................ iv
DEDICATION................................................................................................................ v
INTRODUCTION .......................................................................................................... 1
CHAPTER ONE: “We be of one blood, thou and I”: Esthappen and Rahel’s Use and
Manipulation of Language...................................................................................... 11
CHAPTER THREE: “Silence gathered its skirts and slid”: Esthappen’s Silence as a
CONCLUSION............................................................................................................. 51
WORKS CITED ........................................................................................................... 53
ii
ABSTRACT
This thesis will demonstrate how Arundhati Roy uses language psychologically,
purposes of this thesis “language” should be understood to mean not only the spoken or written
word but also the way cultural groups understand and communicate to one another through
customs and traditions. Roy’s use of language throughout the novel helps the reader better
understand her various complex characters, most importantly Estahappen and Rahel, the seven
yearold twins who are most affected by the events that take place within their family and
community in 1969. Discussion will focus on the characters’ manipulation of the English
language coupled with Malayalam (the twins’ native language) to bring meaning into the
confusing context of their lives. In addition, this thesis will explore the power dynamics found in
language as it relates to gender. Finally, the use of silence as a language will be discussed in
both Velutha and Esthappen. These topics will be analyzed not only in linguistic terms but in
postcolonial terms as well.
iii
ACKNOWLEDGEMENTS
I would like to thank Dr. Joyce Hollingsworth for taking the time to direct this thesis.
Without her I would have been unable to explore a topic which truly interested me. She has
made this daunting process not only manageable, but exciting!
I would also like to thank Dr. Barbara Waxman for her continued guidance and support
throughout my graduate studies.
Finally, I would like to thank Jessica Baker for her constant support and encouragement!
iv
DEDICATION
I dedicate this work to my parents, William and Elayne Stockdale, for their unending
support and prayers. Their constant encouragement and belief in my abilities have been the
greatest blessing a daughter could ask for.
I also dedicate this thesis to the late Dr. Kelly Fisher Lowe for providing the most
significant impact on my academic career. Kelly was a great friend and mentor and he will
always be missed.
v
INTRODUCTION
In 1997 Arundhati Roy’s debut novel, The God of Small Things, was met with critical
acclaim. The first Indian woman to receive the prestigious Booker Prize for Literature, Roy has
been unafraid of risks, using a number of different strategies in language—psychological,
typographical, structural, and cultural—to construct a powerful story. By examining these
techniques the reader can see how Roy uses language to define her characters. The author’s play
of language is not merely a tool for communication in the novel, rather it is an aspect of each
character’s personality. Language play gives the reader a clear indication of who the character
really is. Such use of language is particularly interesting given Roy’s use of a language that is
not natively her own.
India in 1969 and the profound effects it has on the main characters—seven year old twins
Esthappen and Rahel. Through an omniscient narrator the reader learns about the family
dynamics of the Ipe household as the twins, their mother (Ammu), grandmother (Mammachi),
great aunt (Baby Kochamma) and uncle (Chacko) prepare for the arrival of Chacko’s exwife
(Margaret Kochamma) and nineyearold daughter (Sophie Mol) from England. As a result of
this preparation family tension is running at a fevered pitch. Ammu and the twins, though
always disliked, are constantly berated as the family expects Ammu and the children to be on
their best behavior for Margaret and Sophie Mol’s visit. During the visit Mammachi and Baby
Kochamma learn that Ammu has been secretly sleeping with Velutha, an employee of the family
and a member of the Untouchable class (an action which is strictly forbidden in Indian society).
While the family attempts to hide the affair by calling it rape the three children run away from
home by crossing the treacherous Meechenthal River. The tiny boat capsizes, and Estha and
1
Rahel swim ashore and see that Sophie Mol gone (her body is found a day later floating
beaten within an inch of his life because of the lies Baby Kochamma tells. Later, Estha is forced
to say that Velutha hurt the twins while they were in the house. Velutha dies, and Ammu,
heartbroken, is forced to send her son back to his father and is then banished from the family
home. The novel picks up twentythree years later when the now silent Estha returns to
Ayemenem. Rahel, who has not seen her brother since they were separated, returns home to
India, as well, where the two reconnect.
The God of Small Things, written in English, falls into the category of postcolonial
use Ismail S. Talib’s definition of postcolonial literature as “literature written by colonized and
formerly colonized people [including] literatures written in various languages, not only the
language of the colonizer” (Talib 11). It is important to note the point Talib makes about
language. He argues, unlike a number of other scholars, that postcolonial literature may also
since she wrote her novel predominately in English, requiring the reader to deduce the meaning
of a number of words in her native language—spoken in Ayemenem, Kerala, India—Malayalam.
Postcolonial theory is a broad term that allows critics and theorists to tackle a number of
different issues, a critical one of which involves the use of language. Roy’s novel is an excellent
example of how postcolonial authors can blend two major influences on their lives—showing
the reader connections Indians make between their native tongue and their adoptive one—to
illustrate a cohesive blend of culture. The choices the author makes in terms of what language to
use and how to use it influences how the book is received by the public, both locally and abroad.
2
For example, some critics argue that Indian authors who choose to use the English language are,
to a degree, perpetuating the effects of British colonialism. Conversely, as Salman Rushdie
states, “to conquer English may be to complete the process of making ourselves free” (qtd. in
she does include a number of words in Malayalam, thus making the reader work for some of the
most pertinent information in the novel.
Interestingly, the history of the Malayalam language hints to the author’s use of two
languages in the novel. Vipin Gopal asserts, “Malayalis have always welcomed other languages
to coexist with their own and the interaction of these with Malayalam has helped its development
the second largest influence on the language spoken by Indians in Kerala in the southern region
of the country. By using both English and Malayalam Roy exemplifies what her native tongue
has been doing for thousands of years: coexisting with other languages without losing its own
influence (Malayalam 1).
The effect of incorporating a smattering of Malayalam in the English text is something
that even Roy cannot adequately characterize: “All I can say about that is language is the skin on
my thought. My language is something that I find hard to analyze and dissect. It’s the way I
think. I have no answers to questions about it” (qtd. in Abraham 91). Roy’s decision to leave
her language choices unexplained requires the reader to dig deep into the characters. Since the
author gives no explanation for her stylistic choices either in a preface to the novel or elsewhere,
the reader must assume that each capitalized, misspelled, or italicized word carries meaning for
the character. In other words, the use of language the reader sees on the page should be
understood as the words the characters are thinking about and visualizing. Analyzing the words
3
as the characters use them, rather than as Roy or a narrator might use them, allows the reader to
more fully understand the motives and feelings of the characters, especially the twins Estha and
Rahel. Put another way, when reading the thoughts and words of the twins the reader should
dismiss the idea that the words were created by Roy. Rather, as the reader makes meaning from
the text, this meaning is filtered through the lenses of children with a unique view of the world.
Though Roy does not comment on specific linguistic choices, she does assert that there is
a method to her writing:
It was really like designing a building…the use of time, the repetition of words and ideas
and feelings. It was really a search for coherence—design coherence—in the way that
every last detail of a building—its doors and windows, its structural components—have,
or at least ought to have, an aesthetic, stylistic integrity, a clear indication that they
belong to each other, as must a book. (qtd. in Abraham 9091)
Indeed, the reader will see (as discussed in chapters one and three of this thesis) how words and
patterns create compelling characters. We may even consider Roy’s language to function as a
bricolage (a piece created from diverse resources, of whatever materials are at hand). The twins,
at age seven, play with words in ways other children may not, they make sense of words based
on what knowledge they have at hand. They see the gravity of word choice—how people are
which serves to unify the novel.
Though the subject of Indian authors writing in English has been debated throughout the
history of postcolonial studies, Roy argues that a writer simply writes what he or she believes.
4
since she is bilingual it is natural for her to think in both languages. Ismail S. Talib reports,
“According to Roy, ‘being forced to identify with a conqueror, especially with a departed
conqueror…is like being the child of a raped mother’” (11). For Roy, the act of defining her
choices as a writer is as unnecessary as explaining who her parents are or the choices they made.
Each of these explanations would be irrelevant to the work she publishes. Roy asserts that just
because she writes and thinks in English does not mean that she is less an Indian than she was
before her novel was published. The use of the English language is merely a tool for how she
chooses to tell the story of a family that becomes undone. Roy is able to use her tools
masterfully to create characters that may not have been as clearly defined as if she had written in
solely Malayalam. The nuances that Roy uses in changing and playing with language are
purposeful and thoughtful; it seems that the author’s choices with regard to the manipulation of
the English language are based on the intended audience. Without a doubt, such manipulations
would have a great effect on readers who have grown accustomed to the common uses of the
English language.
In using both languages, Roy makes advances for the Indian people. Jawaharlal Nehru
once said that India “must get rid of the exclusiveness in thought and social habit which has
become like a prisoner to her, stunting her spirit and preventing growth” (Nehru 37). Roy
highlights this belief in the actions of her characters. The reader sees how the older members of
the Ipe family (Mammachi and Baby Kochamma in particular) adhere to caste laws and other
discriminatory cultural traditions while other family members hope to break free. It is due to the
powerful adherence to cultural traditions that one family (though loosely knit to begin with) falls
apart and a number of lives are ruined. Like the family, words fall apart as they are
communicated through the children. Throughout the novel the reader can see how the use of
5
language, both verbal and nonverbal, can affect how characters understand one another. The
ability to understand the nuances of character, however, requires that the reader have a three
tiered understanding of the term “language.”
Much like the term “postcolonial” the term “language” has different meanings and
functions. As each chapter will focus on a different aspect of language it is important to note
(both English and Malayalam) but also the thoughts, movements, and actions of the characters.
This definition of language is specifically important in understanding the character of Velutha,
who speaks infrequently, and Estha, whose language eventually becomes silent. Rather than
speaking Estha uses his silence as a language—his silence conveys his inner struggle to cut
himself off from the world in order to forget his past and ignore his pain. Roy allows the reader
to see Velutha’s thoughts by way of his actions in order to comprehend the feelings of his
complex, and often silent, character.
Interestingly, Roy uses Velutha in a subversive manner to call attention to Indian
practices. By keeping Velutha a silent character (exposing the reader to his thoughts rather than
seeing him converse with other characters) the author personifies one of the many aspects of
colonialism; as Edward Said explains, colonized people “were rarely seen or looked at; they
were seen through, analysed not as citizens, not even as people, but as problems to be solved or
confirmed” (qtd. in Suleri 18). By using Velutha as an example of an Indian who is forced into
silence the reader can see how the Syrian Christians and other highcaste Indians perceive
Untouchables. Much as the colonialists believed the natives of India to be a problem, Baby
Kochamma, Mammachi, and Kochu Maria believe that Velutha is a problem that needs solving
6
women employ to destroy Velutha, Roy points to a major problem in Indian culture without
overtly commenting on the practice. The author, rather than simply stating cultural problems of
inequality, invokes in the reader a feeling of disgust towards the practices of Baby Kochamma,
Mammachi, and Kochu Maria.
One of the many reasons The God of Small Things has received such attention is the style
in which it is written. Roy pays great attention to the words she uses and how she uses them. In
the case of the twins, Rahel and Estahappen, Roy plays with capitalization, sentence fragments,
and structure. Each manipulation allows the reader to understand how the minds of the children
work:
When the twins asked what cufflinks were for—‘To link cuffs together,’ Ammu told
them—they were thrilled by this morsel of logic in what has so far seemed an illogical
mathematics. Cufflinks gave them inordinate (if exaggerated) satisfaction, and a real
affection for the English language. (Roy 50)
Throughout the novel the sevenyearold twins play with language to understand the world
around them. They read things backwards (“nataS ni rieht seye”) as well as hear words
incorrectly (“gnickers” rather than “knickers” ) and believe their understanding to be correct;
they also use logical reasoning to explain the events that take place around them (Roy 58, 149).
Each of the language changes Roy makes allows the reader to get inside the minds of the twins to
understand the effects of the catastrophic events of 1969 (specifically Velutha and Sophie Mol’s
deaths).
How characters use language also serves to oppress a number of the characters in the
novel. No character is more oppressed and victimized than Velutha. As an Untouchable, he
7
rarely gets the chance to speak to anyone on a personal level (outside of his family and the
twins—who either do not know or do not care about his social position). Likewise he is unable
to speak plainly and answer questions about the accusations against him. As a result he becomes
a victim of his silence twice over. He is a victim by birth (by inheriting his Untouchable status)
and circumstance (he is beaten to the point of death and not given a chance to articulate a
defense). Much like Velutha, Ammu becomes a victim of language. Ammu, as a result of her
divorce, is not allowed to voice her opinion—at times even when her own children are involved.
She is therefore resigned to live under her mother’s roof with no independence—in essence she
is like an Untouchable without the title.
also allows a woman who would otherwise remain powerless to gain control over a number of
different people. Baby Kochamma, who has given up everything for an unattainable love, uses
her ability to lie and manipulate language into a believable story to condemn not only an
Untouchable but her niece as well. As an obese exnun who has never been married, Indian
society suggests that Baby Kochamma is a burden to her family. While Baby Kochamma
believes she has nothing to live for she feels that she is somehow entitled to power over her
family members (Ammu, Estha, and Rahel). When she feels that her status is threatened she
knows what she has to do. She goes to the police station and concocts a story to implicate
Velutha as a rapist and save herself (and her family) from shame: “By now Baby Kochamma
sounded utterly convincing. Injured. Incredulous. Then her imagination took over completely”
(Roy 246). The power of her words prove not only to condemn one man to death but also to ruin
8
Kochamma’s actions described above are one of many examples of how the use of language has
understand the world in which the characters live and the beliefs that drive them to drastic action
in order to remain in power.
Through the changes Roy allows her narrator and characters to make with the English
language the reader better understands the cultural practices of the people of Ayemenem, India.
The laws of the land (often unwritten) are still very clearly understood through cultural practices.
The most prevalent example of such laws can be seen in the practice of the caste system (though
down who should be loved, and how. And how much” (Roy 33). These laws, though unwritten
and unspoken in the novel (and unknown to the twins), affect each of the characters in different
ways and eventually lead to “the Terror” which Rahel recounts at the age of thirtyone.
While many of the characters show how language can affect the lives of individuals, it is
through Estha’s silence (which begins after 1969) that the reader can connect with one of the
novel’s most compelling characters. Silence functions as a language for Estha, and the best way
for a reader to understand this is based in readerresponse theory. Roy gives the reader nuggets
of vital information to make her intentions with Estha clear. Theorist Wolfgang Iser states, “If
communication between text and reader is to be successful, clearly the reader’s activity must also
be controlled in some way by the text […] the guiding devices operative in the reading process
have to initiate communication and control it” (1676). In chapter three I will explore how Roy
gives such devices to the reader so that there is a controlled connection between Estha and the
reader.
9
The power of language use, both written and unsaid, spoken or thought, drives the actions
of the characters of The God of Small Things. With the potential to make life happy and full or
ruined forever, language usage influences every aspect of the lives of the Ipe family.
Additionally, the use of specific language throughout the novel is a subversive attempt to show
readers the effects of colonialism on India today.
10
CHAPTER ONE: “We be of one blood, thou and I”: Esthappen and Rahel’s Use and
Manipulation of Language
From the onset of the novel Arundhati Roy allows the reader to see the connection
between the sevenyearold twins Esthappen (Estha) and Rahel:
They never did look much like each other, Estha and Rahel […]. The confusion lay in a
deeper, more secret place. In those early amorphous years when memory had only just
begun, when life was full of Beginnings and no Ends, and Everything for Forever,
Esthappen and Rahel thought of themselves together as Me, and separately, individually,
as We or Us. As though they were a rare breed of Siamese twins, physically separate, but
with joint identities. (Roy 45)
Throughout the course of the novel the reader can see how this connection, though felt and
understood between the two without the use of verbal or written language, takes shape in the
manipulation and formation of words in the English language. In the above quotation Roy uses
the word “amorphous,” and while the author states that only the twin’s beginning years are
amorphous, I would argue that through their use of language (spoken and unspoken) the two are
constantly connected. When the twins are together their connection and understanding of one
another is effortless and without boundaries. Their use and play with language serves only to
emphasize their character and their relationship with one another.
Living in the formerly colonized Ayemenem, India, Estha, Rahel, and the other members
of the Ipe household speak English as well Malayalam (the native language of Ayemenem,
India). The children are asked to practice their spelling, pronunciation, and singing in English.
Being surrounded by the English language opens their eyes to the interesting connections they
can make in a language with so many different words and rules. Roy uses different stylistic
11
techniques to create awareness in the reader about when the children are speaking or hearing and
how the twins understand the world around them. Focalization, the act of bringing a word or
phrase into concentration, is used many times throughout Roy’s novel. Dan Shen explains,
“Changes in focalization are usually indicated by linguistic clues” (Shen 383). Roy uses the
changes in capitalization, fragmentation, and manipulation of words and meanings to change the
reader’s focus on the twins. Such “clues” (as Shen terms them) are a signal to the reader to pay
careful attention to how words are used and perceived and serve as the link between the
children’s understanding and the reader’s. For example, in the discussion of how the children
understand the English language, the narrator points to how the twins mishear the words “Barn
owl.” Instead of calling Ousa, the owl that lives in the pickle factory, by its correct name they
words start and stop), rather the sounds they hear are merged together. In the same way the
twins merge together their understanding of their world. The twins themselves break down the
boundaries of words. This breakdown is mirrored in their own lives as they have no boundaries
with one another. The reader too must break through these boundaries in order to have an
understanding when similar instances of focalization occur.
One of the many ways in which the characters are revealed to the reader is the way the
children hear words spoken to them. They hear and therefore spell words phonetically. How the
twins understand these words is shown on the page, giving the reader the ability to see what the
twins see in their mind’s eye: “They had to form the words properly, and be particularly careful
about their pronunciation. Prer NUN sea ayshun” (Roy 36). It is important that the author
establishes the way the children perceive language at the beginning of the novel; throughout the
12
course of the novel the children will experience adult situations they do not understand. In using
language to see into the minds of the children Roy establishes a way for the reader to gauge how
the children would react to the complex and often horrific actions that surround their lives in
1969.
the reader and the twins. The reader understands the connection based on the early indications of
how the twins perceive language. The combination of words—which often run together to form a
Wiemann argues, “the Rushdiesque, ‘magical’ use of language in the child’s universe is
correlated to the twin’s perspective” (qtd. in VogtWilliams 397). Roy makes these changes in
the text to create clear lines between the twins and other characters in the novel. The distinction
indicates the differences in how the children understand their world and their two languages as
opposed to how the adults understand what is being said and heard around them.
Curiously, Wiemann makes a deliberate attempt to define the children’s language by
calling it “magical.” In so doing, he creates a framework for how readers might understand the
twins’ minds. Not only do the children use their language changes to communicate to one
another, there is a sense of power in their language. The children use language to create new
worlds for themselves; these worlds are magical and powerful—the children can escape their
confined Ayemenem world and go wherever they like. Also very deliberate is Wiemann’s
characterization of the twins’ “universe.” In using the word “universe” the author suggests that
Estha and Rahel are in no way confined by the language they use. Wiemann’s suggestion tells
the readers that much like our universe, the children’s expanse or use of language is limitless.
13
There are no boundaries in which the children must adhere in terms of language use. Their
proficiency in both English and Malayalam gives the twins the freedom and the power to explore
ideas in ways their family members would otherwise not allow.
As the children are on their way to Cochin to pick up Sophie Mol and Margaret
Kochamma (the twin’s cousin and aunt) from the airport, the reader is allowed to experience the
trip as Estha and Rahel do. The Paradise Pickles & Preserves sign comes loose on the roof and
makes “fallingoff noises” as opposed to “fallingoff noises” (Roy 56). In allowing the words on
the page to run together Roy displays to the reader the way the children hear and speak the
foreign language. While the children’s interpretations of the words make sense, the compound
word does not exist in the English language as the children presume. Seeing “fallingoff noises”
reminds the readers of the age of the young twins. In broader terms it is a reminder that children
cannot comprehend words in the way adults can. This fact is established early in the novel and
its importance will grow as the 1969 story line continues. Interestingly, the twins notice the
“fallingoff noises” mere days before their family begins to fall apart. The connotation of the
word points the reader to the impending catastrophe. Remarkably, it is not until twentyfour
years later that Rahel understands the importance of the language used by her family when she
was seven years old.
Not only are the twins able to speak fluent English (though often a manipulated or
misunderstood language), they are also familiar with a number of English stories. Ammu (the
twins’ mother) reads out of Kipling’s Jungle Book to the children each night before bed. This
particular tale is read so often that the twins know parts of the story by heart and can recite it
aloud as their mother reads to them. Additionally, the twins and Ammu have a special
understanding of the characters and their dialogue; the family uses it as their personal dialogue,
14
one that makes sense only to them. When Ammu or the twins feel especially close to one
serves to unite the three of them not only in love but also in language.
Both of the children are aware that their station within the family is fragile at best. They
know that their mother has no “Locust Stands I” and by association they do not either. Though
a divorced woman who was once married to a man without her family’s approval, has no legal
standing. In effect it is as if she does not exist: she cannot make decisions for herself and her
children, cannot have a job, cannot live on her own. It is as if Ammu, Estha, and Rahel are
merely acquaintances who happen to live with a family: ones who do not necessarily approve of
their being tenants. The twins break down the Latin phrase so that “I” stands alone. This, too, is
a hint of what is to come: Ammu, Estha, and Rahel will eventually stand alone, without social or
legal standing. The impersonal phrase in Latin becomes an agonizing expression of alienation.
In their knowledge of English literature Rahel and Estha find a place to play, taking the
words and phrases remembered from The Tempest, Julius Caesar and A Tale of Two Cities and
using them to entertain themselves: falling on the bed, practicing faces in the mirror, and
generally being dramatic. This use of language serves as a way to escape their lives. In
remembering the characters from literature they can forget themselves and the people of the
Ayemenem house. They can disregard their Anglophile uncle, their blind grandmother, their
spiteful Baby grandaunt, and their condescending housekeeper.
As a result of their exposure to complex English literature, the twins are not attracted to
children’s literature. Estha and Rahel know they are smart and wish to be treated as such. When
the twins receive The Adventures of Susie Squirrel from a friend of Baby Kochamma (their great
15
aunt) they are deeply offended. Not only are they far more advanced in reading and
comprehending the English language, they also feel that they’ve been treated like children (a fact
they do not wish to acknowledge as truth). Rather than simply accept the gift politely, the
children decide to read the entire book backwards, thus displaying their intelligence and
creativity. Again, the children use their manipulation of language to demonstrate their desired
place in the Ayemenem household. While the twins, along with their mother, have no “Locusts
Stands I” they know it is through no fault of their own. Estha and Rahel use language to display
their capabilities to their extended family members.
The twins’ use of language not only suggests their intelligence and explains their
understanding of their family situation; it could also suggest the two are aware of the effects of
mimicry (although they would not be aware of the concept or the word). Homi Bhabha states,
“Mimicry is, thus, the sign of double articulation; a complex strategy of reform, regulation, and
discipline, which ‘appropriates’ the Other as it visualizes power” (266). The twins know that by
simulating the complexities of the English language they are able to gain power for themselves.
While Miss Mitten may have considered the twins’ use of language inappropriate (or at the very
least out of the ordinary) for two sevenyearolds, she no doubt saw the children appropriating
children’s use of English also suggests that they are aware of what situations necessitate the use
of a more powerful language. Though they are quite young their ability to understand adult
situations is rooted in their understanding of how and when two languages should be used.
Though Estha and Rahel begin to read backwards as a way of simultaneously aggravating
Miss Mitten and displaying their intelligence, they decide to continue the game long after Miss
Mitten leaves Ayemenem. Soon both Estha and Rahel read every word they see backwards:
16
street signs, book titles, jar labels. They even transpose the words they hear, beginning with, of
course, Miss Mitten’s ‘nataS ni rieht seye’ (Roy 58). The games the children play with language
continue to serve as an escape. The more words they read backwards the more obvious it
becomes that they are (consciously or unconsciously) trying to ignore the actions around them.
What the children learn in terms of language is a way of understanding their personal and
presence. Janet Thormann argues, “These signifiers transmit family history and thereby mark
the children with a fatality, transmitted like an inheritance” (Thormann 301). As Thormann
explains, each time the children run their words together it indicates that they have listened to
and picked up their mother’s speech patterns. When Ammu is angry she tells the twins to
“stoppit” rather than to “stop it” (301). The reader can see how the twins are connected to one
another and their mother; they too combine words and phrases. Their language serves as a way
to uniquely unify them; by no other characters are words transformed in this way. Even without
signifiers (the manipulation of the words seen on the page) the reader should be able to identify
who is speaking or thinking based on the merged voice of the twins.
Like most children, both Estha and Rahel are given to playfulness and repetition. If
something is particularly funny to a child there is a good chance the child will want to see or say
it over and over again. One of the recurring themes the children think about is a song. While the
preceding lines change throughout the course of the novel, each song ends the same way: “Little
Man. He lived in a caravan. Dum dum” (Roy 156). This song serves as a way to qualify the
actions of people around the twins, specifically Esthappen. Each time a phrase or sentence is
is not to say that each of the instances is trivial, but rather that Estha wishes to contain them. The
17
singsong aspect of the phrases suggests that while the matter is important, the characters wish
that this was not the case. It also shows the juxtaposition between Estha’s real age (seven) and
the maturity he needs to confront the issues by which he is surrounded. Each version of the song
shows Estha’s forced maturity into a life he is not yet ready to live or understand. With each
repetition of the song he moves a little closer to his eventual silence.
In their desire to use the English language in all the ways they see possible, Esthappen
and Rahel often assign names, categories, and lists to the people around them. Such assignments
allow them (perhaps subconsciously) to make sense of the attitudes they witness, what they are
told to think and feel, and how they really feel about those around them. In naming/categorizing
the people in their lives they simplify their feelings. Thus Roy reminds her readers that the
children are just that—sevenyearold children—without a complex understanding of the world.
As Rahel thinks about Sophie Mol after the funeral she is able to create a label for her,
enveloping everything she remembers about her cousin that seems important to her character.
Sophie Mol is remembered simply as “ThimbleDrinker. CoffinCartwheeler” (Roy 129).
Sophie Mol constantly clutched her good luck thimble, often finding ways to utilize it in play.
She often drank from the thimble while playing tea party. Rahel, in remembering Sophie Mol’s
playfulness, imagines her cousin cartwheeling in her coffin on the day of her funeral. Rahel
later thinks of her cousin only in these newly defined terms.
In boiling people down to a few specific terms, Rahel is able to simplify her life and the
players in it. Likewise, she can equate events in her life into one word or phrase that will carry a
deep meaning. The significance of a single word can clearly be seen the day Sophie Mol arrives
in Ayemenem. For the Ipe family this day is one full of performance. It is mentioned several
times in the week leading up to Sophie Mol’s arrival that the family is preparing for her stay.
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This preparation does not simply mean cleaning the linens and making space in the closet for her
clothes. Rather, it means that the family must practice how they will interact with Sophie Mol
and how they will change their behavior in order to impress the young girl and her mother.
When the day finally arrives, Rahel tells Velutha that she refuses to take part in the Play. In one
simple word she sums up the attitudes and actions of everyone in the house:
Outside the Play, Rahel said to Velutha: “We’re not here, are we? We’re not even
Playing.”
“That is Exactly Right.” Velutha said. “We’re not even Playing.” (Roy 173).
Velutha understands by the way Rahel discusses the party that it is, in a sense, unreal. However,
since she is a child she likely cannot articulate this fact to Velutha. Instead, she says that she is
not playing, to indicate that she knows what her family is doing is not genuine and she therefore
will not participate in their Play.
Capitalization is the most striking change to language Estha and Rahel use. This
typography allows the readers to see in what ways the children assign importance to the many
aspects of their world. It also gives the reader a chance to hear what the twins are emphasizing
in moments of dialogue. The capitalization adds emphasis to the word the child is saying. This
emphasis signals the perceived importance of the word. Additionally, the children probably
know that a proper noun is capitalized. When the children think, speak, and write with
capitalization the reader can see that either Estha or Rahel considers the word or phrase not only
of importance to their lives but also to their friends and family members. It is interesting to note
that Roy chose to capitalize words rather than italicize them. The italics would suggest that the
altered word is only important in that particular instance of usage—the italicized change
indicates one specific reason for change. However, because the children capitalize specific words
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repeatedly, the words hold a different meaning. Each time one capitalized word is used in the
same context it indicates the word’s assigned importance to the twins. For example the
capitalization suggests that the word “Memories” always carries with it a heavy, painful
connotation as seen when Estha says, “‘It brings back Memories,’ Estha, in his wisdom,
explained to Chacko” (Roy 81).
Capitalization in the twins’ dialogue is notable for more than one reason. Not only does
that a word carries negative connotations. The connotations suggest that not only are the words
habitually used in the same way (or with the same understanding), but that they are not
necessarily words the children like to think about or address. The capitalization shows the
gravity of a word: a word has the power to bring back the past, or look forebodingly into the
future.
connotations. Sophie Mol’s “Play,” to which Rahel refers, undoubtedly has a negative
connotation. She calls attention to the negativity of the word in her discussion with Velutha.
and saw that she was in a Play. But she only had a small part. She was just the landscape. A
flower perhaps. Or a tree” (Roy 164). The magnitude of the “Play” is seen in juxtaposition to
her role within it. By capitalizing “play” Roy allows the reader to see how large and important
the concept is to Rahel and how insignificant she feels in comparison. In casting the “Play” in
this light, Roy once again allows her readers to share Rahel’s feelings and think about the
situation the same way the sevenyearold girl does. Rahel’s understanding of the events in this
scene is particularly noteworthy because it establishes how important it is to the Ipe family to
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keep up appearances. Though it is likely that Margaret Kochamma and Sophie Mol do not
require such a display, the family finds it absolutely necessary to keep all of their skeletons in the
closets. Rahel can see this and is unwilling to participate in the charade.
It is worth noting the irony in the term “Play.” Rahel refers to the word as a description of
her family’s actions. Each person is taking on a role, just as an actor does in reciting a script.
Rahel uses “Play” with the implied “imaginary” meaning: she can see that the actions of her
family are a farce. However, the reality of the situation is that the family is putting on airs
because they seriously think it is necessary. Though the word “Play” suggests a fun, light
hearted characterization of the family’s actions, more “scenes” in the “Play” are not being
“Play” skirt around issues that would make the action unpleasant or awkward. The word “Play,”
like so many others, signals to the children that something in their world is not quite right.
Estha and Rahel are able to recognize the words used by other people in their family that
point towards negative feelings or beliefs—especially those of their mother. The two are able to
distinguish whether their punishments will be severe or not by hearing two simple words: “Jolly
Well.” The narrator relates, in a voice similar to the twins’: “When Ammu was really angry, she
said Jolly Well. Jolly Well was a deeply well with larfing dead people in it” (Roy 141). The only
way the children could have identified this meaning was to hear the phrase time and time again.
In each instance it is likely that the children remembered the last time they had heard the term
and came to understand it. In explaining the meaning of the phrase Roy allows the reader to
equate “Jolly Well” with the threat of punishment. When the reader and the twins hear the
phrase again later in the book neither should be surprised by its implication.
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Interestingly, the children’s vocabulary contains a number of words with meanings that
coincide. This similarity is seen as they discuss the ramifications of not “Jolly Well” behaving.
“‘Where d’you think people are sent to Jolly Well Behave?’ Estha asked Rahel in a whisper. ‘To
the government,’ Rahel whispered back, because she knew” (Roy 143). In showing the
connection from one phrase to another, we continue to see how the twins understand. In Rahel’s
assertion that they would go to the government to learn how to behave once and for all the reader
learns about not only the world in which the twins live but also about the opinions of their family
and, to a small degree, the opinions of those living in Ayemenem in 1969. In the first
explanation of “Jolly Well” we see that the term is coupled with the words “larfing dead people.”
Without question the twins associate “Jolly Well” with fear and death, two strong images for
children so young. That the two associate the meaning of “Jolly Well” with the government
suggests that at some point they learned that the government was not there to protect the people
of India, rather to hurt them. Again, it would only be through repetition that the words “Jolly
Well” and “government” would come to have a negative connotation to the children; they could
not have conjured up this understanding on their own.
Through the understanding of the children, Roy gives the reader hints about what is to
happen in the plot. The children already see the government as a threat. This apprehension will
come to fruition in two ways. First, the children will see Velutha violently beaten by the
Ayemenem police. While police should provide protection and safety (especially to children)
they instead perpetrate unnecessary violence. Secondly, the children see their mother sexually
harassed while she is trying to convey Velutha’s innocence to the police. Rather than treating
her with respect, the police officer calls Ammu a veshya (whore) and taps her breasts lightly with
his nightstick. While the children do not know what the word veshya means, they are aware of
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the way their mother feels as a result of hearing that word. In creating these scenes Roy directs
the reader’s attention to the perceptiveness of the twins. The two sevenyearolds, though not
completely aware of the magnitude of the police department’s actions, are sensitive to the fact
that their mother was hurt. Ammu’s emotional pain is felt by the twins as well—the bond their
familial connection but also the power of language to destroy hearts and minds. By emphasizing
connotation Roy helps the reader hear and understand language as the twins do, thus making the
impact of the hurtful language even more powerful.
The technique that Roy uses in the above example is what linguists call “foregrounding.”
In employing foregrounding techniques Roy shows the link between representation and the
focalizer’s (and the reader’s) thoughts (Emmott 10). This attempt can work in a unique way. As
one critic notes, “If we assume that the ultimate purpose of these passages is to highlight plot
crucial information for the reader, the fact that the linguistic devices can also be interpreted as
showing the characters’ thought process can add to the plausibility of the passages” (Emmott
10). Indeed showing the reader the context of veshya and describing the children’s confused
look creates in the reader a better understanding of the events taking place before the children.
Keeping the children confused about the words around them allows the reader to see the adult
themes surrounding the twins—it clarifies why the children are confused. Even if the English
Since the twins understand the English language so well, they are apt to change words
around, often altering their significance. Rahel and Estha assign new meanings to words based
on one incident where the word is used in a particular way. The word “later” signifies having to
wait—an action children are not especially keen on doing. Estha and Rahel are no exception.
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The impatience of a child is easy to understand; however, Roy allows the reader to see how the
children regard the word “later,” specifically after they have heard it multiple times in one day:
“And Ammu’s angry eyes on Estha said All right. Later.
And later became a horrible, menacing, goosebumpy word.
Lay. Ter.
Like the deepsounding bell in a mossy well. Shivery, and furred. Like moth’s feet.”
(Roy 139)
The narrator again takes the voice of one of the twins to better explain how the word “later”
acquires new connotations. In the three other instances in the novel where “Lay. Ter.” is seen
the reader can recall the feeling that is meant to be associated with this specific term. The new
term is inherently different from the normal usage of “later.” This difference should be noted by
the reader as he or she explores the meaning of the passage. Roy uses the spelling change to
recall in the reader’s mind the feelings Estha associated with his first manipulation of the word.
Roy is quite intentional in her manipulation of words throughout the text. By breaking up
“later” into syllables she calls attention to the weight of the meaning. Catherine Emmott and her
colleagues suggest, “Text fragmentation is used for a piece of information which ultimately has
key plot significance, but which might not appear important at the point of reading unless
highlighted in some way” (Emmott 8). Roy uses fragmentation in “Lay. Ter.” to call attention to
the importance of the word—the reader can see through the word change and the subsequent
description of the change the significance the break has to Estha. In breaking up the word “later”
Esthappen gives the word more weight, more importance. The sense of foreboding the word first
carried has been magnified in the fragmentation.
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Emmott goes on to say, “The fragment arguably puts more focus on the information than
if the information had just been included in the previous sentence” (14). In the case of “Lay.
Ter.” the fragmentation places extreme emphasis on the drawn out meaning the brokenness
suggests. If Roy had placed “later” or even “layter” in the middle of the sentence, the meaning
of the word would not have been so significant. In reading the words as fragments the reader
gets the sense that the word is long and drawn out, indicating a passage of time. It is as if Estha
is overenunciating the word for added emphasis: this allows the reader feel the length of the
word as well as the length of time indicated by its use.
The feelings evoked by the added emphasis in “Lay. Ter.” should not go unnoticed.
Linguist Peter Stockwell asserts, “It is clear that emotion is often figured spatially, and
articulated in terms of the conceptualization of distance” (148). As Estha (and the narrator—
through Estha’s voice) explains, the word “later” has taken on new meaning. The new form and
meaning of “Lay. Ter.” carries with it a disappointment that is not necessarily associated with the
original form of the word. Estha’s word creates a distance between himself and his mother. The
fragmentation and the space it creates serves to embody the emotional distance between the two
characters.
Not long after Estha’s molestation by the Orangedrink Lemondrink Man, words begin to
lose their playful feel to the young boy. Instead, every thought and every word uttered carry
underlying meanings; often these are meanings Estha either cannot understand or does not want
to acknowledge. Rather than struggle with the words and the associated connotations Estha
simply pulls himself away from the world of words. Though his change is characterized by a
gradual removal from the spokenword world, Esthappen eventually stops speaking altogether.
When all of the words he both hears and speaks fail him, Estha feels he has no choice but to give
25
up completely. He releases himself from the constraints that words have placed on this life: his
inability to express himself or help those he loves has plagued his young soul for far too long.
Estha takes sanctuary in silence.
Interestingly, it is not through a number of misunderstood communications and fumbled
phrases that Estha first sees how words can destroy. In one of his last days in Ayemenem,
Esthappen is asked to identify Velutha for the police. The young boy understands that in
identifying Velutha he will condemn the man he loves like a father. When Estha is brought into
the holding cell to look at Velutha’s beaten and maimed body, the police officer asks him if
Velutha is the man who hurt the twins. Estha’s one word, “Yes,” seals the fate of not only
Velutha’s life (who would have died shortly after regardless of what Estha told the police) but
also the fate of his entire family. “Yes” is a word that carried more power than the sevenyear
old boy may have thought possible. The boy’s admission gives the family another reason to
separate Ammu from her children. Chacko now has a reason, once and for all, to stop taking
care of his needy sister. The problems Ammu and her children cause (by Estha’s admission) are
the breaking point for the family. Not only is one man dead, but three lives are destroyed by a
single utterance.
characters would be lost within the story. Roy asserted in an interview that The God of Small
Things “is not really about what happened, but about how what happened affected the people it
happened to” (Abraham 90). Without a clear understanding of how the characters were affected
by the events of 1969 the novel may not have been so touching, so troubling to readers. With
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the reader connects with Esthappen and Rahel. The reader, through language, is invited into the
Ipe household to become not only an observer but a confidant to the children.
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CHAPTER TWO: “No Locusts Stands I”: Language as an Oppressor
As Christina VogtWilliams suggests, the power of language lies in its striking ability to
change and manipulate lives. “Language is often used as an instrument of power—it can hurt,
exclude and even deprive a person of their rights—the right to speak, the right to be heard and
the right to be one’s self and to have that self acknowledged by one’s surroundings” (Vogt
Williams 394). In this chapter I will show the ways in which Arundhati Roy creates a language
for three of the central characters in The God of Small Things. The particular choices Roy makes
in regard to language usage display the ways in which characters have been oppressed or
manipulated.
Examining the language each character uses leads to better understanding on the part of
the reader: the character’s thoughts, feelings, and actions all take root in language. Esthappen
words and thoughts on the page. In contrast to Estha and Rahel, other characters in the book are
understood either because they have no verbal language with which to distinguish themselves or
because the language used in their presence serves to oppress them. Ammu is oppressed by
language due to her social standing. Velutha is not given a chance to use the language he does
have because of his status as an Untouchable. While these two characters are oppressed by the
use of language in their world, Baby Kochamma, in contrast, uses language to exert what little
power she does have in the world over innocent characters that are undeserving of the actions
taken against them.
Ammu’s personal history is explained early in the novel to establish her inability to take
care of herself. It is not that she is physically incapable of taking care of her children or herself;
rather the rules of society keep her from acting on choices of her own volition. As a young
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woman Ammu felt she had no choices for a future. She could either stay with her parents and
remain unmarried or find a suitable husband on her own, without the help or blessing of her
parents. Choosing what she believed to be the lesser of two evils, Ammu agreed to marry a man
she would later learn was an alcoholic. After giving birth to twins she decided she had enough
of her husband’s damaging actions and decided to come home, though not into the open arms of
her family. The Ipe family allowed Ammu and her children to live with them out of obligation,
not because they particularly loved or cared for them.
The displaced family of three (who do not have a last name—Ammu being unable to
decide which would be worse: her father’s name or her exhusband’s) have no social standing.
They are constantly reminded of their outsider status in the actions of their family members.
example, Ammu knows that she will always be dependent on her family for financial support. In
retrospect Ammu understands the gravity of the choices she made as a young woman: “She was
twentyseven that year, and in the pit of her stomach she carried the cold knowledge that, for her,
life had been lived. She had one chance. She made a mistake. She married the wrong man”
(Roy 38). In making this one mistake, Ammu is forever dependent on her family. She is not
forgiven for disobeying her family and making her own choice; Ammu is instead constantly
reminded of her failure. In contrast to Ammu’s condemnation for choosing the man she married,
her brother Chacko not only is permitted to have lovers, he is silently encouraged to do so.
Mammachi installs a door in his room which leads outside of the house, allowing visitors to
come and go as they please. The contrast is clear: Ammu is not allowed to make decisions for
herself because she is a woman, but Chacko can because he is a man and is therefore his own
master.
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Baby Kochamma’s hatred of Ammu is clearly seen in her language. Throughout the
Kochamma silences Ammu even more because she is in charge of the twins’ education. Since
Baby Kochamma has a degree (although a useless, “Ornamental Gardening” degree) she deems
herself their educator. In losing the right to educate her children, Ammu loses the ability to
speak for herself on many occasions. Because Baby Kochamma is Ammu’s elder Ammu is
Baby Kochamma’s language as well as the language that describes her attitude gives the
impression that she is extremely powerhungry: she craves power over her family members. The
power that Baby Kochamma craves, however, is not simply due to her hatred for Ammu. Rather,
Baby Kochamma’s hatred is a result of her fear. The consequences of denouncing her faith to
briefly take the vows of a nun cause Baby Kochamma to lose a great deal of social standing. She
never marries and therefore is rarely spoken to with the respect she feels she deserves. Her fear
is summed up by the narrator: “Hers too, was an ancient, ageold fear. The fear of being
dispossessed” (Roy 67). The little power Baby Kochamma does have is only held within the
confines of the Ayemenem house. When her power is threatened, Baby Kochamma feels as if
she has to defend herself by being harsh with the few people who are socially lower than her,
especially Ammu.
Baby Kochamma dislikes Ammu because she feels both she and Ammu are in the same
position: both without a husband and therefore useless, a burden to the family. Yet Ammu seems
to find a way out of her despair through her relationship with Velutha. Ammu manages (yet
again) to find someone to love her despite the fact that such a relationship is not socially
acceptable. When Baby Kochamma learns of her niece’s affair, she recognizes the opportunity
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to make Ammu suffer. She hopes to relegate Ammu to the lowly position Baby Kochamma
found herself in many years ago: “Baby Kochamma recognized at once the immense potential of
the situation, but immediately anointed her thoughts with unctuous oils. She bloomed. She saw
it as God’s Way of punishing Ammu for her sins and simultaneously avenging her (Baby
Kochamma’s) humiliation” (Roy 243). After Baby Kochamma recounts the (imaginary) rape,
she will realize that she is the one who sent her niece spiraling downward (eventually to her
death) and she could not be more pleased. The narrator expresses Baby’s power through
language. The use of powerful language is indeed liberating for the aunt who believes she has
finally been vindicated. Roy’s words “she bloomed” suggests that Baby Kochamma saw herself
rising to power through her idea of how to put Ammu and Velutha in their rightful places.
Though Baby Kochamma lacked social standing, her actions made her feel as if she had some
Kochamma truly relishes her plan to bring down two of her enemies.
The lack of social standing is also perpetuated by other characters in the novel, most
notably by Inspector Thomas Mathew, a policeman who hides behind the guise of “helpful
keeper of peace” but who uses language (both verbal and physical) to remind Ammu of her low
station in life. Inspector Mathew serves to illustrate a larger social injustice present in Indian
society: the Caste System. Though outlawed in the Indian Constitution, the Caste System
remains an important factor in daily life and decision making. Those who continue to adhere to
the Caste System use language to belittle the people who allow themselves to love despite what
cultural custom deems (in)appropriate. Inspector Mathew clearly believes in the value of the
Caste System and his belief affects the decisions he makes in his professional life: “He spoke the
coarse Kottayam dialect of Malayalam. He stared at Ammu’s breasts as he spoke. He said the
31
police knew all they needed to know and that the Kottayam Police didn’t take statements from
veshyas or their illegitimate children” (Roy 910). Inspector Mathew knows he is in the position
to comment on Ammu’s personal business and chooses to let her know where she stands in the
social hierarchy. As a woman without a husband, who voluntarily slept with an Untouchable,
Ammu is basically invisible. According to the caste system, when Ammu began sleeping with
Velutha she defiled not only herself but her family as well. Because it would have been
inappropriate (and unlawful) to throw her in jail or banish her, Inspector Mathew carefully uses
language to abuse Ammu, thus reminding her who holds the power in India.
Inspector Mathew uses his social position as a weapon. His status as a member of a high
exert this power over Ammu (a woman society deems an acceptable victim of damaging
language) he also uses his power to influence Baby Kochamma. When Baby Kochamma goes to
the police station with her story concocted to “save the family” she weaves a tangled web
describing how Velutha raped Ammu, who is consequently too scared to say anything about it.
As Inspector Mathew catches Baby Kochamma in her lie he uses it to his advantage. Having
already deduced that the police beat Velutha for no reason, he forces Baby Kochamma to give
him the information he needs to save face. He explains:
“The matter is very simple. Either the rapevictim must file a complaint. Or the children
must identify the Paravan as their abductor in the presence of a police witness. Or.” He
waited for Baby Kochamma to look at him. “Or I must charge you with lodging a false
F.I.R. Criminal offense.” (Roy 299)
By using threatening language Inspector Mathew gets what he wants: a chance to reposition
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only by using language to manipulate Baby Kochamma. Baby Kochamma is very aware of what
Inspector Mathew is doing to her but also knows that his words are more powerful than hers. It
may, after all, take a manipulator to know when she is being manipulated.
Because of her lower social standing as an unmarried woman and converted Catholic,
Baby Kochamma continually looks for ways to assert power over others. Roy’s powerful
language reveals the evil in Baby Kochamma’s character. For example, Roy’s clever
descriptions of Baby Kochamma illustrate the desperation the old woman harbors in her heart. In
order to exact revenge on the world Baby Kochamma will use any candidate she considers
worthy. Velutha is the perfect outlet for her rage: he is already an Untouchable and therefore
hated by most people simply for living in their town. His mere presence carries with it the
connotation of defilement. Baby Kochamma uses Velutha as a scapegoat for all of the ways she
feels wronged in her life. She allows her hatred for her personal life circumstances, the presence
of Ammu and the twins, and her loneliness to be combined into one evil act: lying to Inspector
Mathew.
The language used to describe the conception of her plan calls attention to Baby
Kochamma’s sinister ways. “‘That man will be our Nemesis,’ Baby Kochamma said. Not
because she was clairvoyant and had had a sudden flash of prophetic vision. Just to get him in
trouble. Nobody paid her any attention. ‘Mark my words,’ she said bitterly” (Roy 175). Roy
intentionally surrounds Baby Kochamma’s statement with a sense of foreboding. The reader is
to understand the decision Baby Kochamma makes in the minutes after she learns that Ammu
and Velutha have been sleeping together. Baby Kochamma says that Velutha will be the
family’s nemesis. The certainty with which she makes the statement indicates her determination.
After years and years of waiting for a form of retribution, Baby Kochamma finds it in an
33
innocent man who simply had the misfortune of falling in love with woman of a higher caste.
Baby Kochamma’s recognition of her heightened status is more than a light bulb going off in her
head: it seems this realization is the answer she has been waiting for. Roy also highlights Baby
Kochamma’s evil desire by pointing to the fact that she is not a clairvoyant. It is not that Baby
sees the future or is somehow predicting the future but that she knows what she can do to bring
an end to Velutha.
The power that Baby Kochamma usurps when she devises her plan is taken seriously—in
the eyes of Baby Kochamma if no one else. Roy describes Baby Kochamma’s statement as
“bitter.” The word “bitter” displays Baby Kochamma’s demeanor and her determination. She
says “Mark my words” bitterly [emphasis mine] suggesting that she is harboring anger in her
heart (Roy 175). This anger will only manifest itself in one way: implicating Velutha in a crime
which will lead to his death. Though Baby Kochamma does not plan on killing the Untouchable,
she certainly wants to see his demise—the more profound the fall, the better.
Baby Kochamma’s (lack of) social status is clearly displayed in the above quotation. The
narrator notes that “Nobody paid her any attention” (Roy 175). The fact that no one took her
comment seriously indicates that those in Baby Kochamma’s social circle habitually dismiss her
comments as unimportant or unnecessarily dramatic. Her statement is of no consequence to the
people who hear it; after all, she is merely a woman making a remark about a situation over
behind her words, the resolute bitterness behind the meaning comes to fruition hours after she
first remarks on Velutha’s fate.
One of the reasons Baby Kochamma’s language is so striking is that her status as a
woman suggests that she not speak in such confident, threatening terms. Mary McEdwards
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argues, “Women have a language of their own, different from and inferior to the language of
men […] women’s language is symbolic of women’s lack of power” (McEdwards 40). Though
Baby Kochamma has been able to use her language to exercise power over the children, she has
yet to exert any power over other adults. Her statement and subsequent language as she
condemns Velutha are strikingly different from the language one would expect from an Indian
woman of Baby Kochamma’s standing. Baby Kochamma’s language, as a woman, should have
been thoughtful, quiet, and perhaps even hesitant. That she speaks with such force during this
scene calls attention to her desire to destroy Velutha.
While Baby Kochamma intends to ignore the rules of women’s language in her society,
Ammu feels continually bound to societal and familial rules. Very few times in the novel is
Ammu able to assert herself without arousing a negative reaction. Each of the times Ammu
speaks with unquestioned authority she is addressing her children. With her children as the only
exception, Ammu is bound by the language Indian society deems appropriate. Unlike Baby
Kochamma, Ammu has a great deal more to lose in ignoring the rules of society—she knows she
could lose her children if she is not careful. Baby Kochamma, on the other hand, has nothing to
lose in using the power of language. While Baby Kochamma is dependant on her family, she
knows that nothing she can do will be as bad as Ammu’s actions so she uses this knowledge to
her advantage.
“There is no such thing […] as an independent woman” (215). This applies most clearly to
Ammu based on her lack of language. Ammu is bound by the decisions of her mother and
brother. Though she often jokes with Chacko on the subject, it is understood that he is the
decisionmaker of the family. Her opinions, regardless of how intelligent they may be, are
35
nothing compared to the opinions of the head of the family. Ammu truly has no agency, no
“locusts stands I” (Roy 56). When Ammu points out the injustices of society and lack of social
standing, Chacko merely laughs. His laugh serves to acknowledge the truth of his sister’s
statement while at the same time silently admitting the fact that nothing will be done to relieve
Ammu of her position in life.
language behind it—is particularly important for men. It is not only what allows the higher caste
Indians to be separated from the Untouchables, but also what allows the men to be separated
from the women. Pumla Dineo asserts that it “becomes crucial, in a society where the
maintenance of endogamous caste units is paramount, that the female body be heavily regulated”
(Dineo 111). By regulating the female body and all that it does (especially who a female speaks
to and interacts with) the social hierarchy remains intact. Chacko knows that his sister has a
lower social status than he, which is why he simply laughs when she points out the truth of the
situation. He dismisses her, not using language at all, because he does not deem her worthy of
language.
Because Ammu’s inferior social position is based on her personal decisions, her
circumstances are not so dire as those of her lover, Velutha. Velutha is a Paravan: an
Untouchable with no social status. Like all Untouchables, Velutha must work for those of higher
castes and stay out of the way as much as possible. However, because of his talent for
mechanics and woodworking, Velutha is able to make an impression on the Ipe family. He is
allowed to work as no other Untouchable would—he even gets an actual wage for the duties he
performs. While he is able to work for the Ipe family business, he is not often afforded the
36
opportunity to speak with the adult members of the family. For this reason, much of Velutha’s
“language” is seen in body movements, gestures, and glances.
Ammu recalls that what she remembers most about her childhood is the gestures Velutha
made toward her. “It was his smile that reminded Ammu of Velutha as a little boy […] Holding
out little gifts he made for her, flat on the palm of his hand so that she could take them without
touching him” (Roy 167). Though the two of them never could have predicted their future, in
childhood Ammu and Velutha were gentle with one another. Crossing the lines of
could communicate without many words. Velutha simply offered little toys to Ammu and
smiled as she took them. The small gestures indicate a great deal. The two children knew they
had to abide by the rules of the Caste System, though they did not feel that these rules were truly
important. Velutha offered the presents in such a manner that Ammu would not have to touch
him (though she likely would not have recoiled from his touch). Despite social rules forbidding
a friendship, Ammu and Velutha make a silent agreement to be companions. Their agreement
sets in place an understanding the two will resume when they become lovers.
It is through gestures and movements, not language, that Ammu and Velutha make a
silent agreement to become lovers. Coming upon one another near the river lit by moonlight, the
two silently undress and explore each other’s bodies. A few laughs are the only sounds uttered
as the two make love. This relationship is continued for many nights, each time coupled with
only a few words. Due to their social standing they know that to talk to one another about
anything important or permanent is futile. The two recognize that they will never have a future,
so there is no point in talking about one. They stick to the small things—naming the spider who
visits them each night and making a promise understood with one word: “tomorrow” (Roy 321).
37
While Velutha says very little throughout the course of the novel, his silence does not
mean that he is a languageless character. What is interesting about the language Velutha does
use is that it is not at all indicative of the way any other Untouchables would speak. Christine
VogtWilliams argues:
Velutha, an Untouchable, would not have had access to the kind of English Roy uses in
his speech. Yet Roy reports his thought patterns and lends his speech a certain dignity by
using a more or less standard variety of English. This of course contributes to the
reader’s perception of Velutha not as just an Untouchable, but rather as a person with
rights. (396)
Roy’s use of proper English suggests that Velutha should be treated as any other human being
would be treated. Velutha’s English displays his intelligence and elicits sympathy. Moreover,
while the reader is aware of Velutha’s social standing, he or she should not be influenced by it.
The reader should feel as outraged as Ammu does when Velutha’s false accusations and beating
are reported. Cleverly, Roy uses the elevated language to emotionally appeal to the audience.
Not only should the reader comprehend how Velutha feels, he or she should be moved by the
atrocities enacted against an individual whose only crime is being born into the wrong caste.
VogtWilliams states that Roy “reports” Velutha’s “thought patterns” allowing her to
show the reader how an Untouchable thinks (VogtWilliams 396). Roy not only gives Velutha a
voice, she also gives him a brain capable of complex thought. Contrary to what members of a
higher caste may suppose, Untouchables are able to think like human beings. Untouchables have
the ability to think and feel, an attribute that Roy highlights in her portrayal of Velutha. Though
few characters can understand this about the disrespected Paravan, Velutha’s thoughtfulness is
38
characters, do not require a vast number of words in order to be understood. Rather, it is through
the simple and often silent actions of his character that readers can appreciate his value.
Roy uses a set of unwritten, unspoken rules that serve to govern the people of
Ayemenem, India. Like the adherence to the caste system, other conventions that Indian people
accept do not require formal discussion. Rather, Indians understand these laws as enacted
through their elders. The “Love Laws” to which Roy often alludes are one example. These
“Laws” affect how Indians live their lives and with whom they may interact. As the narrator
explains them, such customs are “Laws that lay down who should be loved, and how. And how
much” (Roy 33).
Though not clearly defined, the weight behind the laws is undeniable. Janet Thormann
argues, “The novel’s ‘Love Laws’ are the grammar structuring the interpretation of global and
local power, the regulations governing capitalist distribution, caste, and women” (300).
Thormann’s use of the word “grammar” to describe the “Love Laws” calls attention to the
complex structure that governs the characters in the novel. Much like the grammar of language,
once the rules are learned they are not discussed. Just as speakers of the English language know
that a sentence must include a verb, the characters in The God of Small Things know that there
are social lines that are not to be crossed. As young children learn to speak, they do so by
observing, not by first learning the parts of speech and how they function. The same can be said
for the “Love Laws.” The characters in the novel do not discuss the reasons for the social
regulations because they have been observing the “Laws” in action since birth.
Within the context of these “Laws” the reader can see how characters are restricted in
their movements, their actions towards one another, and most notably in how they use language
with one other in terms of such constrictions. The “Love Laws” demand that each Indian adhere
39
to a set of rules in order to keep one another safe. The “Laws” imply that it is unsafe to love a
person from a different caste, to deny power to someone of a high caste, or to act as if women
case of the Velutha and the members of the Ipe family, the belief in impending chaos is
justified—as Ammu and Velutha use their body language they disobey the “Laws” and the lives
of their families are forever changed.
with an eerie tone. This tone suggests the influence the laws have over the Indian people.
Repeated in the same manner throughout the novel, the specifics of Roy’s word choice and
sentence structure call attention to the magnitude of the influence harbored in so few words. The
sentence fragments point to the severity of the laws; within the laws there is no wiggleroom.
a specific amount, in other words, not freely but rather with restraint. Additionally, this love is
qualified. One can not love another any way he or she pleases but rather under specific
parameters based on their social position.
While most Indians in Ayemenem (Baby Kochamma included) believe in the importance
of adhering to the “Love Laws,” Roy points to the failure of the system in displaying the
aftermath of Baby Kochamma’s reports of her niece’s transgressions. It is not the breaking of
the “Love Laws” that leads to Velthua’s death, rather it is the sincere belief that both Ammu and
Velutha must pay for their actions—and the only way for the family to punish them is to use the
power of their language. Baby Kochamma’s accusations are used as an example to show the
damaging effects that disobedience to the “Love Laws” can bring.
40
In placing Baby Kochamma in a position to allow love to flourish or watch it die,
Arundhati Roy makes a comment about Indian society. Through her characters the author argues
that obeying the “Love Laws” does more damage than good. At the time of Ammu and
Velutha’s transgressions India had technically outlawed the caste system, no longer allowing
discrimination based on a person’s birth. Despite this amendment to the Indian constitution, a
large number of Indians continue to distinguish themselves along caste lines. Roy shows the
readers, through Baby Kochamma, that following the “Love Laws” means thinking about and
making decisions based solely on oneself, with absolutely no regard for others. Baby
Kochamma is more concerned with how her family will look in the eyes of other Indians.
Mohini Khot articulates the Ipe family reaction: “When faced with the revelation of the Ammu
Velutha relationship, they cannot think beyond the caste prejudice they have inherited” (Khot
216). Baby Kochamma simply cannot not live with the idea of the Ipe family appearing “soft.”
Her family would be disgraced if they were to allow Ammu and Velutha to love one another
without regard for the “Love Laws.”
The nature of the “Love Laws” does not merely dictate “who should be loved. And How.
And how much” (Roy 33). Rather, the “Laws” serve as a prison for all people who do not have a
high social position. Especially for women, the “Love Laws” deny a person the right to explore
desire. Denied the right to explore desire, those affected by the “Love Laws” begin to feel as if
they are unlike other Indians. Ammu tries to fight this feeling as she continues her relationship
with Velutha. Indeed Roy causes the reader to feel sympathy for the couple, to truly believe
there is nothing wrong with a love that crosses caste boundaries, a love that explores desire.
Ammu wants to break free of the “Laws” (and consequently the language that binds them)
41
because she finds that she cannot be a whole person if she adheres to such rules. Janet
Thormann argues:
What plays out in Ammu is the conflict between woman as mother, regulated by social
law, and woman as subject of desire following her own jouissance […]. The intolerable
split between mother and desiring, sexual subject is the effect of patriarchal power
imposing a forced choice on woman: If Ammu chooses to be only a mother, she faces an
empty future of abject stagnation. (Thormann 305)
Though the “Love Laws” are not referred to directly by the characters, its dictates are clearly
understood. Ammu is caught within the “Law’s” powerful message and the language which
accompanies it. Ammu knows that if she does not submit to the “Love Laws” she will likely
suffer; however, it is in the silent language of Velutha that she finds comfort, and therefore her
gamble is one she feels she must take.
Roy uses language to create sympathy and loathing for different characters in the book.
Language allows certain characters to exert power over others while the most lovable characters
are forced to suffer. Arundhati Roy skillfully chooses her words in a way that allows readers to
know characters on a personal level. Even without language, as we will see in the next chapter,
Roy has the ability to familiarize the reader with the emotions of a character.
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CHAPTER THREE: “Silence gathered its skirts and slid”: Esthappen’s Silence as a Language
The power of language to develop characters in The God of Small Things is undeniable.
However, Esthappen is one of the most compelling characters Roy creates, and he is without
language for nearly half of the novel. Estha’s lack of language serves as a way to show the
profound effects of the actions, and most notably the language, used when he was seven years
old. As “the Terror” unfurls before him, Estha speaks less and less. He continues to listen to
others and observe the world around him but he slowly pulls himself out of all interactions.
Rather than again be the reason for someone’s death, Estha chooses to disengage from the world.
Acknowledged as a gradual change, Estha’s silence is regarded not merely as a state of
being but rather something that dwells inside of him, like an affliction he must live with every
day:
Once the quietness arrived, it stayed and spread in Estha. It reached out of his head and
enfolded him in its swampy arms[…]. It sent its stealthy, suckered tentacles inching
along the insides of his skull, hovering the knolls and dells of his memory, dislodging old
sentences, whisking them off the tip of his tongue. It stripped his thoughts of the words
that described them and left them pared and naked. Unspeakable. Numb […] He grew
accustomed to the uneasy octopus that lived inside him and squirted its inky tranquilizer
on his past. Gradually the reason for his silence was hidden away, entombed somewhere
deep in the soothing folds of the fact of it. (Roy 13)
The power of Estha’s silence is evident in this description. The silence, like a parasite, has made
a home in the core of Estha’s existence; the silence is lodged onto Estha very tightly. As the
silence continues to harbor itself in Estha’s soul Estha accepts it as something that should be a
43
part of his being. He allows it to live within him and continually numb him. By allowing the
silence to stay, Estha keeps his feelings at bay.
One way to think about the function of Estha’s silence as a language is to consider what
Wolfgang Iser calls “blanks” in a text. In readerresponse theory it is said that blanks “Leave
open the connection between textual perspectives and so spur the reader into coordinating these
perspectives and patterns” (1677). Estha’s silence can then create a connection between himself
and the reader. Roy’s description of how Estha’s silence takes shape within him offers the
reader the perspective he or she needs to understand the character. The reader, in analyzing the
function of Estha’s silence can make a connection with him, to recognize his need for silence as
a way to deal with his pain. Iser goes on to say that blanks “prompt acts of ideation on the
reader’s part” (1677). In terms of what Roy gives the reader, the “acts of ideation” the reader
would have serve as a connection between the speaking and silent world. We see the potential
for “acts of ideation” most clearly when Estha is in the presence of other characters. His
soundless actions give clues to the reader about how he is feeling and what he is struggling with.
For instance, though the narrator never explains Estha’s obsessivecompulsive cleanliness the
reader can understand Estha’s need to clean may be linked to the filth he felt as a small child
after being sexually abused and witnessing incredible violence. His actions act as a language
expressing his continued distress. Roy’s techniques serve to create a clear understanding of a
complex character.
Just as the reader gets comfortable with silence, Estha does as well. He learns that if he
embraces the silence within him he will no longer have to think about the reason he stopped
speaking in the first place. Though he slowly stops talking because he sees the aftermath of his
one word, “yes,” Estha eventually forgets his reasons for silence. Because he is sent away from
44
everyone he knows and loves, there are very few reminders of the reason he was hurt in the first
place. Though he initially stops talking to avoid ruining the lives of others, over his twentyfour
year separation from his sister, Estha completely loses the desire to speak at all. Estha allows the
entombed pain become unwrapped.
Because Estha’s silence is gradual, it is especially hard for people to understand why he
does not speak. Even though it is confusing to those around him, the silence is not something
that weighs heavily on the minds of those who come into contact with Estha. “Yet Estha’s
silence was never awkward. Never intrusive. Never noisy” (Roy 12). Just as the narrator
describes how the silence comes to find a place in Estha, those who interact with Estha come to
accept his silence as well. It seems as though Estha’s silence is something that is expected, as
natural as his growing height or his dark brown hair.
The reader, however, has the advantage of knowing what events in Estha’s life may have
led to his silence. In allowing the reader to know the events that led to Estha’s silence, Roy
instills a feeling of pity for Estha in the readers. Iser’s argument concerning a reader’s response
explains Roy’s techniques: “Communication in literature, then, is a process set in motion and
regulated not by a given code, but by a mutually restrictive and magnifying interaction between
the explicit and implicit, between revelation and concealment” (1676). Given the clues Roy
leaves concerning Estha’s silence, the reader can easily understand Estha’s desire not to speak—
indeed no normal child would want to speak after realizing the last words his friend heard were
ones confirming that Velutha was a liar. The magnitude of Estha’s speaking one word leads to
serves to magnify the importance of the word for Estha. This magnification also serves to imply
45
the reasons for Estha’s silence. He recognizes that it is safer to say nothing than to run the risk
of hurting another person he loves. Instead of choosing his words wisely, Estha chooses not to
speak at all.
In his efforts to remain silent, not only does Estha refuse to speak, it is as if his whole
mind has been turned off. He does not have thoughts constantly pouring into his conscious
brain. From his actions it appears that he is at peace. He seems very calm and collected; nothing
can detain Estha from his silence. However, Rahel’s return changes Estha’s demeanor—if not
outwardly then at least in his heart. The only person that can penetrate Estha’s silence is Rahel:
“It had been quiet in Estha’s head until Rahel came. But with her she had brought the sound of
passing trains, and the light and shade and light that falls on you if you have the window seat.
The world, locked out for years, suddenly flooded in, and now Estha couldn’t take the noise”
(Roy 16). Rahel brings with her not only a silent understanding of everything Estha had been
through; she also brings the memory of what happened all those years ago. While the silence
allows Estha’s memories to lie dormant, Rahel’s presence awakens Estha’s memories and his
mind cannot contain the silence any longer. Such memories may indeed be termed
“Memories”—with a capital letter—as Estha referred to them earlier in the novel. Since
childhood Estha carried a negative connotation with the term “memories” because of the pain he
saw in his mother’s eyes. Likewise, Estha does not want to remember his past.
Though Rahel is the one person Estha knew he needed in all those years apart, their
reunion is not a flawless one. The twins had been separated for twentyfour years, forced to live
apart from one another. Before Estha and Rahel could reconnect as they once had, the two have
to refamiliarize themselves with one another. Unlike most people who have to tell stories in
46
order to catch up on lost years, the twins do not need words. Estha and Rahel simply need to
remain in one another’s presence. Slowly the two become comfortable with one another again.
The silent language Estha and Rahel share is unlike any other language used in the book.
While their silent language sometimes relies on glances or movements, the majority of their
communication is simply felt. The twins naturally know what the other is feeling. Their
connection runs so deep that even when they were apart from one another there was a sense of
emptiness within them, they could physically and emotionally feel as if they were missing an
aspect of themselves. In order to feel complete one twin must be aware of what the other is
feeling.
Though the twins are unable to use verbal language to explain their connection, they are
aware of its presence. Likewise, other people notice the (lack of) connection while the two are
apart: “What Larry McCaslin saw in Rahel’s eyes was not despair at all, but a sort of enforced
optimism. And a hollow where Estha’s words had been. He couldn’t be expected to understand
that. That the emptiness in one twin was only a version of the quietness in the other” (Roy 21).
The recognition by other people that one twin is somehow incomplete speaks to the value of the
twin’s silent language. The silence is a language, similar to a physical language that can be
written, the absence of one twin means they are both unable to feel whole. The power of this
silence is so moving that when Rahel finally does have the chance to see her twin after twenty
three years, she drops everything and returns to Ayemenem.
The narrator tells the reader that each time Rahel is in the same room as Estha she can
feel his presence. She does not have to see him or talk to him to know that he is near her. This
connection is felt as soon as she arrives in India. Almost instantly a part of their connection has
47
returned to them, almost instantly the twins feel better about themselves—perhaps a little less
broken than they had felt before. And even though the first few days of their reunion are spent in
observation—merely getting used to one another again—the two hold the knowledge deep inside
of themselves that they can begin to heal now that they are together again.
Rahel can feel Estha’s presence and know what he is thinking. Many times it seems the
two are thinking the same things. Rahel is able to understand her brother in a way no one else
can. Estha feels the same for his sister; he knows that they will reconnect mentally and
emotionally. He knows he does not need to explain his life to Rahel because she inherently
understands his thought process, whether it is verbalized or not. After a couple days of being
reacquainted with one another’s presence, the two become closer. They watch a Kathakali
performance and walk home together, jointly and silently ignoring Comrade K.N.M. Pillai, who
is entering the temple as the twins leave. “The twins, not rude, not polite, said nothing. They
walked home together. He and She. We and Us” (Roy 225). It is during their walk home that
things change for the twins. In their walk past Comrade K.N.M. Pillai, the twins silently
acknowledge that they again are of the same opinion. The twins know they are thinking the
same things and remember their history in Ayemenem.
The connection the two make after twentyfour years of separation is one that does not
require words. The twins know that they spent those years apart desperately in need one another.
As they walk home, they silently go over their family history, the events that took place when
they were seven years old. Now that they are reunited, there is only one way to express all of
their repressed emotions; the twins need only silence because words would not do justice to their
feelings:
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But what was there to say? Only that there were tears. Only that Quietness and
Emptiness fitted together like stacked spoons. Only that there was a snuffling in the
hollows at the base of a lovely throat. Only that a hard honeycolored shoulder had a
semicircle of teethmarks on it. Only that they held each other close, long after it was
over. Only that what they shared that night was not happiness, but hideous grief. (Roy
311)
In their silent language the twins find comfort in their mutual grief, a grief they could not allow
themselves to fully explore without one another. They do not need words to express their grief
and their rage. They need only each other. The ability to be in the same place and to express that
they have the same feelings is all the twins need—words would only serve to complicate the
expression of emotions.
In the final, incestuous scene with the twins, their silence allows them to break the “Love
Laws” which condemned their mother nearly a quartercentury ago. Brinda Bose argues, “The
fact that the RahelEstha incest is conducted in the (social) invisibility of a family home, and
indeed involves a partner who has ceased to speak and to be noticed in/by society at large […]
may evade the punishment it apparently would deserve” (Bose 67). Thus the twins, in their
silent acceptance of each other, are at last able to redeem the actions of their mother. In their
union they acknowledge that what their mother did was no different than their own actions: she
was driven by love, desire, and the need to be close to someone. Like their mother’s relationship
with Velutha, the twin’s union does not require the use of words. The silence that once
imprisoned their emotions has finally allowed them to be set free.
The power of the silence which unites Estha and Rahel makes more sense as the novel
progresses. While the reader initially learns of the silence before the reasons behind it, by the
49
end of the novel Roy has come full circle with the power of silence and how it serves to connect
the family. The silence which eventually grabs hold of Estha sets into each member of the
family after Velutha’s death. With his death comes a realization to the children and Ammu that
nothing will be the same. Their lives will be completely different as a result of Velutha and
Sophie Mol’s death. “And for the little family curled up and asleep on a blue crossstitch
counterpane? What came for them? Not Death. Just the end of living” (Roy 304). Though
none of the characters speak of the change that comes over them, their silence speaks volumes.
The grief that Ammu, Rahel, and Estha harbor is physically silent yet seems to scream within
them. This grief will never leave the characters; though it does lie dormant in Rahel, all three
members of the “little family” carry a silent grief with them for the rest of their lives.
By the end of the novel, as the twins reunite within their silent understanding the reader
can see the cycle of silence come full circle. The death of Velutha brought with it a silence
which will find a niche in each of the family members. For Estha, the silence is most notable; it
has taken over every aspect of his being. For Rahel, while her husband could see the effects of
the silence in her eyes, she is still able to speak. Her silence, the language that reminded her of
what she needed most, was lost but not forgotten. Rahel could not articulate her silent language,
knowing that only Estha would understand. The silence could only make sense when combined
with its other half.
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CONCLUSION
Throughout the course of the novel each of the characters shies away from addressing
life’s larger issues, the “Big Things,” as Roy cleverly puts it. The use of language allows the
characters to mask their true feelings, scratching only the surface of the thoughts and feelings
which govern their actions. Even in terms of Ammu and Velutha’s relationship the heart of the
matter is never addressed: “Instinctively they stuck to the Small Things. The Big Things ever
lurked inside. They knew that there was nowhere for them to go. They had nothing. No future.
So they stuck to the Small Things” (Roy 320). As a result of both the “Love Laws” and the use
of language Ammu and Velutha are rendered powerless. They cannot choose to love one another
openly, and even expressed in near silence, their secret is eventually exposed. Though the
readers and characters know exactly what the “Big Things” are no one is able to speak about
them. Rather, Roy uses a number of stylistic choices to convey the characters thoughts and
intentions.
Roy uses language psychologically, typographically, structurally, and culturally to create
a powerful story. In each stylistic choice the author makes the characters (most notably Estha,
Rahel, and Ammu) connect with the readers. By allowing the reader to see and understand as the
types of language—both verbal and silent—create dynamic relationships between the characters
and the world in which they live.
While Roy constructs a compelling story for her readers she does so with the expectation
that the reader will have to work to understand her words and her characters. The combination
of standard English, manipulated English words and Malayalam words serves to create a deeper
understanding of the characters and the Indian culture. Roy exhibits how the influence of
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English culture has infiltrated the Indian culture, bringing both positive and negative effects.
to point to flaws in both the English and Indian world.
Roy’s deliberate use of English and Malayalam suggests that she is giving the reader vital
information, information she hopes her reader will interpret in a specific way. Anne Cluysenaar
argues, “The individual’s knowledge of, and selection from, his language is so vital a matter.
His perceptual and inner world is, it seems, largely articulated even to himself within the
confines of his linguistic awareness, and is certainly expressed to the reader solely through the
forms he has chosen from amongst those available to him” (25). Indeed Roy’s “linguistic
awareness” as Cluysenaar puts it, is vast. She gives her reader the novel as a sort of structure to
explore. By using fragmentation, capitalization, and focalization the reader can understand what
Roy deems important as well as why. In providing such challenges, Roy engages the reader with
the text and characters, often exposing the reader to cultural practices different from their own.
Without a doubt, the novel The God of Small Things is a masterpiece which contains an
innovative blend of language. Roy’s characters are clearly understood not only by their actions
but by their use of different types of language: verbal and silent, as well as body language. Each
of these linguistic aspects combine to create a compelling story deeply rooted in culture. The
author’s use of both English and Malayalam explicates the culture of both Roy and her
characters. The novel may have only been successful due to the combination of the languages
for, as John McLeod insists, “To dismiss a language is to dismiss a whole culture” (126).
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